Between public space art and labour of our heroes

By Deji Ade

LAST month, Enugu witnessed the ugly situation of destructive removal of two iconic and historic Lion sculptures. These works, in my thinking, may have adorned their environment for up to 30 years. Current value will be in millions of naira. Against the expectation that the pedestals were merely being renovated, the sculptures were unprofessionally knocked off their bases, and replaced by new white Lions.

The history of public art in Enugu is documented in paper titled Public Sculpture in Urban Development: Enugu City Experience, presented by Dr. Obiora Anidi in 2015. Anidi acknowledged ex governor, Emeka Omeruah, who “gave the push and impetus” in the 1980s. Anidi notes that Omeruah collaborated with the Institute of Management and Technology (IMT), to locate seven major sculptures within the public spaces in Enugu metropolis. Anidi states that by 2015, there were 32 public sculptures in the city.

Another paper by Dr. Ferdinand Anekwe explains the rationale behind the positioning of the public sculptures, proffering a narrative based on the history of the people. From the memorial monument of the massacre of the coal miners in 1949, produced by Obi Ekwenchi and situated at the city gate, New Market, to the “Uprising” (Freedom) by Cyril Nwokoli, at the Independence Avenue roundabout. Then, the Lions introduces the seat of power (the Lion Building).

There is therefore a system and a narrative, as well as stylistic periodisation, well thought of and handled by fathers of artistic rebirth in Enugu Coal City. Therefore, there is a cause worry when conscious attempts are being made to change these narrative without reference to professional ethics in some cases.

Lately, the governor of Enugu State, Rt. Hon. Ifeanyi Ugwuanyi, whom some of us regard as an outstanding governor in respect of support for the visual art development in Nigeria, initiated new public art commissions with urban renewal in focus. Of note is the development of tourism park, dubbed Unity Park at Okpara Square. It becomes necessary that the artistic value of Enugu city, built around the two nationally acclaimed art schools, IMT and Nsukka, should not be undermined by unethical practices and Eurocentric ideology of art.

When artworks are installed in public space they become reference point, land marks, and objects of historical documentation. The citizens over time get emotionally attached. For example, the Oti-gba, made by Sculptor Chris Afuba, not only serves as the identity for the area it is located, but perceived by some as a symbol reminiscence of the Enugu city.

There was a recent outrage in Lagos over the removal of Fela’s sculpture from Allen Roundabout, as widely reported by the newspapers. It was instructive that the Ministry of Arts and Culture was involved in the decision. Efforts were made to explain that the artwork is reclaimed (not destroyed) for the propose of road reconstruction and that the artwork will be properly relocated (not disposed). More importantly, the stakeholders were informed before the removal. This is typical of due progress, professionalism and respect for public.

The implication of removing a public art without recourse to experts and professionals are multiple. The public is denied the opportunity of ownership and association. Failure to relocate such artworks also is a denial of history, lack of appreciation and respect for the creator, disregard for the “labours of our heroes past”. In the case at hand, one would have expected the work to be relocated within the Unity Park (which is under constructing), reposition within many of the public building or at least dumped in the Sculpture Garden.

A public monument is not just merely aesthetic object, it is bundle of history, object of education, document for conservation and instrument of arousal of public emotion. People entrusted by the governor for the ongoing art and tourism projects must rise above mediocrity, reference professionals and ensure contemporaneity, not just for the preservation of the traditional identity of the society, but so the the labours of our heroes past will not be in vain.